存在主义文学的对位性解读——陀思妥耶夫斯基与穆旦  

Fyodor Dostoevsky and Mu Dan: The Existential Literature on the Interpretation of Counterpoint

作　　者：杨经建[1] 

机构地区：[1]湖南师范大学文学院,湖南长沙410081

出　　处：《学术界》2013年第4期117-125,287,共9页Academics

基　　金：湖南省哲学社会科学评审委员会重点课题"20世纪中国存在主义文学史论"(批准号:10112462);湖南省教育厅科学研究项目重点课题"20世纪中国存在主义文学史略"(批准号:10A084)阶段性成果

摘　　要：陀思妥耶夫斯基是存在主义文学的先行者,中国现代诗人穆旦的诗作也呈现出存在主义本色,将两者在特定的视域中进行对位性解读不失为一种新的"问题意识"范畴。"对位性"是指两者在存在主义诗学意义(对于陀思妥耶夫斯基则是小说诗学)上的对应与通融,具体表现在:一是尼采的"酒神式"艺术精神及其审美表现形态成为两者的诗学切合点,如果说陀氏关注的是"上帝死了"后类似于"地下室"乃至"死屋"般的生命存在状态,并通过酒神精神进行审美探究,那么穆旦诗作则彰显自由意志对生命现象的肯定,这种肯定以酒神式狂欢呈现进而获得形而上的审美慰藉。其二,与酒神艺术精神相应的是陀氏小说中的复调形态,陀氏在复调式多声部合奏中构建了小说的先验性存在结构,其中寄寓了个性的自由选择与上帝的必然意志之间悖谬关系;穆旦在非自觉的状态下将陀氏的复调性引借、融入到诗歌中,并以自我不断撕裂、不断质疑的方式、在存在的焦虑与现实的生存状态间体验着"丰富的痛苦"。Fyodor Dostoevsky is the forerunner of existential literature,and Modern Poet’s poems also show the true nature of existentialism. It is a new'awareness of the problem'way to put them in particular perspective interpretation. However,the poem of Mu Dan reflects the affirmation about the free will to the phenomenon of life. This is certainly performed by the Dionysian revelry and get metaphysical aesthetic comfort. Another is,corresponding to the Dionysian spirit of art,in the novels of Fyodor Dostoevsky’s polyphonic form,Fyodor Dostoevsky built priori existence structure of the novel in polyphonic multi - part ensemble,which ignited the contradictory relationship between the freedom of choice of the personality and the inevitable will of God. In a non - conscious state,Mu Dan cited the polytonality of Dostoevsky by,into poetry,and by the way of self tearing,and constantly questioned,experienced'rich painful'in the anxiety of the presence and the survival state of reality.

关 键 词：穆旦 陀思妥耶夫斯基 对位性解读 存在主义文学 

分 类 号：I109.4[文学—世界文学]